Get ’em while they’re HOT! Range: Local, Distant, Fringe

Image

I have copies of Radius’ new zine, Range: Local, Distant, Fringe for sale (5 bucks) here in Atlanta! Included: Radius stickers!

Range is 24-page booklet in a series of 220, each with hand silkscreened paper covers. The booklet features a three-part episode series and accompanying artist statements for each episode, images, and an extended interview with each artist/group of artists. 

The episode artists are Local: Emilie Mouchous & Andrea-Jane Cornell; Distant: Damon Loren Baker; and Fringe: Rob Ray. 

To listen to episodes featured in Range and for more information on the zine and Radius, click here

Range can also be purchased online through Half Letter Press and Sound and Language. If you’re in Chicago, stop in at Quimby’s for your copy!

Southeastern College Art Conference

I presented a paper titled “An Autoimmune Aesthetic” in the panel “Visualizing Disability” chaired by Ann Millett-Gallant from UNC – Greensboro at the Southeastern College Art Conference (SECAC) at the Savannah College of Art and Design (SCAD) a couple weeks ago. Ann wrote a book called The Disabled Body in Contemporary Art that I’m really looking forward to checking out. I’m hoping to continue my work on that paper, so I’m not going to post it just yet…

However, I am going to post some links to other projects I found interesting. I went to a panel called “Stoking Hephaestus’ Fire: Linking Art and Science” and saw some interesting art projects presented.

The artist Matt Kenyon’s talk “Techno-Activism and Inverse Biotelemetry” showed projects from his collaborative work with Douglas Easterly “SWAMP“: Studies of Work Atmosphere and Mass Production. One work that I particularly liked was the improvised empathetic device (i.e.d.). This device worn around the arm, tracks the deaths of US soldiers in the Middle East, oftentimes because of improvised explosive devices, I.E.Ds. The device delivers a prick to the wearer when data is updated. (This project reminded me of Wafaa Bilal’s performance piece titled … and Counting where he had the dead tattooed on his back from the war in Afghanistan. However, in Bilal’s piece, he draws awareness to our lack of attention to the deaths of Afghani civilians; he tracks their losses as well as the US’s.)

The next talk in the panel, “Ut Pictura Scientia: The Studio Lab” given by Shona Macdonald, had many projects! I’m just going to list them here:

Katy Schimert, A Woman’s Brain (1995): investigates differences in the brain based on the separate sexes

Marilene Oliver, I know you inside out (2001): a reconstruction of the convicted murderer who was convinced to donate his body to science, becoming the basis of the Visible Human Project.

Margaret Wertheim and Christine Wertheim, The Hyperbolic Crochet Coral Reef: “a woolly celebration of the intersection of higher geometry and feminine handicraft, and a testimony to the disappearing wonders of the marine world.” The project interestingly also involves an appropriation of mathematics in making the crocheted forms.

The next talk was “Leveraging Public Experience in a  Scientistic Approach to the Arts” by Wayne Madsen. He presented his own works, and the one I was most interested in was wiki_panopticon which engages with deleted data that is stored from entries in wikipedia: Art, Artificial Intelligence, Ideology, Justice, Anarchism, Truth, Consciousness, and Tradition.

The last talk was “Printmaking on a Micro Scale: An Art and Science Collaboration” by Al Denyer and Erik Brunvand. This project involved a new technique of printmaking on silicon chips. These are super tiny! Only 300-500 microns large! We’re talking millimeters big. They use integrated circuit manufacturing to make the prints, and it is basically a process of layering metals to create the image.

I thought it was interesting that the approaches to science and technology were so different between the projects. Many of the projects were much more political in their themes whether it be about war and the loss of life, communication and the way data is saved and surveilled, disciplined bodies and biomedicine’s interventions, or environmental disasters. I’m not so sure about the politics of the printmaking on silicon wafers still though; it seems like a more straightforward aesthetic and material enterprise. However I can see a critique of its being problematic in terms of classism (?) – who would be able to own these? What are the conditions of production that make that project possible?

These projects all seem to point to ways that science and technology can both be used and examined in artistic practices. Can we use technology and science in a way that is self-reflexive of its conditions while also talking about something else? Must the artist always need to be aware of the conditions of the material, the technology?

Opening this weekend!: Symptoms Variable

I am in a show opening this weekend! The show, Symptoms Variable, opens this Friday (May 6th) at Roxaboxen Exhibitions in Pilsen: 6-9pm, 2130  W 21st Street (near the Damen stop on the pink line).

Description of show:

Eight artists expose and confront the symptoms of social phenomena in a thoroughly interdisciplinary exhibition, combining digital and craft works with graphic design and interaction. Symptoms, a vague term meaning simply “signs of evidence of phenomena,” is used to describe critical situations in medicine, politics, and economics. Variable symptoms occur sporadically, confusing diagnoses and complicating interventions. Symptoms in the exhibition indicate problems of taste, identity, economics, and culture, treatable through three imaginary medications:

AccumulofetishixTM: Manages anxiety associated with advertising immersion and hyperbolic growth. Images and merchandise form an adhesive bond upon contact with computer paint tools, subcultural icons, high school yearbooks to corporate logos.

BodaceptTM: Heals the hard to define space between the self and the other in physical space and psychological experience. Site-specific installations and projections interact with architecture and large jacquard weavings to invade and control the human body in both unusual and everyday experiences.

PlacebexTM: The Placebo category recontextualizes everyday interactions with ambient noise and decoration through interactive pieces using sound, gravel, pottery, and macaroni and cheese.

The artists are members of the 2011 Master of Arts of Visual and Critical Studies class at the School of the Art Institute of Chicago and will present their thesis research in a symposium on May 12 from 6-9 pm.

Participating artists include: Sara Clugage, Christine Elliot, T. Brandon Evans, Meredith Kooi, Lauren A. Ross, L.C. Parker, Jeremy Shedd, and Dustin Yager.

Artists websites: www.meredithkooi.us, cargocollective.com/laurenaross, and www.ceramicsandtheory.com

Roxaboxen Exhibitions is an artist-run gallery and performance space in the heart of Chicago’s Pilsen neighborhood. www.roxaboxenminicastle.com

Chicago Humanities Festival investigates disability!

I’ve found a few interesting lectures coming up as part of the Chicago Humanities Festival on art and the body in some form or another.  One is on Rembrandt’s painting The Anatomy Lesson of Nicolaes Tulp – a painting that I have been interested in and have read on – to check this one out click here.  Another is called “Beauty and Variation” and is about the body’s various manifestations and experiences because of them – to check this one out click here.  Another is on the changing representations of the body in art, specifically focusing in this lecture on drawing – to check this one out click here.

There is also a panel discussion on Hollywood representations of disability – another area that I have been researching – to check this one out click here.

I’m also excited about the performance GIMP that brings together “a troupe of dancers with an array of bodies, abilities, and disabilities.”  To check this one out click here.

Most of these events are either free (especially for students!) or have a small fee.  Sign up for these great events!

painting by Riva Lehrer